A Few Words About A few words about...™ Lawrence of Arabia -- in Blu-ray (2 Viewers)

[Stefan Andersson]

Thanks Stefan, The great thing is that all the above locations are in "brand new" conditions. I mean, David Lean could filmed Lawrence today in the same locations, NOTHING has changed since 1962, it's amazing. One more good reason to visit this wonderful place that Seville is!

Locations are unchanged since 1962... interesting news!

Thank you Alain!

 

[Mike Boone]

Locations are unchanged since 1962... interesting news!

Thank you Alain!

My best friend, is a relative youngster of 43, compared to yours truly, and though he's a big fan of movies, the man has never seen "Lawrence of Arabia". But when news first broke about the passing of Peter O'Toole, several years ago, my friend called to let me know.

Anyway, when my friend and his family return from their vacation, in 10 days, or so, I'm going to tell my buddy that an evening , or a Saturday afternoon, has been much too long overdue for being dedicated to a viewing of LOA. If I'm not mistaken the closest that my friend has gotten to viewing Lawrence was seeing that little snippet from the film that was incorporated into "Prometheus"

I was most fortunate to have received, as a gift, the deluxe Blu-ray edition of "Lawrence of Arabia", at Christmas, in 2012. My daughter-in-law having given the stunning BD of Lawrence to me, that Christmas, certainly served to boost her stock with me, by a good bit.. But strangely, although she was a straight-A student in high school, even having skipped a grade, this 34 year old young lady does not like to watch films that were released before about 1985. And though it certainly wouldn't be relevant with any effort to get her to appreciate LOA, Jennifer also possesses that fairly popular prejudice among some younger folks, of believing that viewing a black and white film, must be a dull experience.

Regarding B&W films, I really found myself agreeing with the late Roger Ebert's view that B&W movies can possess their own special point of interest, in that good black and white photography, while obviously presenting a somewhat less realistic recreation of the world than color photography is capable of, can tend to compensate for that lack of color, by presenting us with images that can seem more dream-like than the more accurate rendition of the world that color makes possible..

Anyway, as I attempt to cut this long-winded exposition short, I want to quickly say that I'm almost ashamed to note that since receiving the Lawrence Blu-ray, more than 4 and a half years ago, neither my wife, nor myself, have sat down to watch the film from beginning to end. Though I have put the disc in one of our Blu-ray players, on 3 or 4 occasions, to really startle some guests, by letting them see for themselves, how genuinely stunning a film more than half a century old, can still be in comparison with about any 2016 or 2017 movie release, that shows up on Blu-ray.

So very soon, an evening or afternoon will be set aside here, for the special event of watching "Lawrence of Arabia". And instead of having the usual Cokes with our popcorn, I think it might seem right to have some good lemonade as a small symbolic way to honor the memory of the great Peter O'Toole, whose character in the film gets such a kick out of seeing the lemonade he ordered, offering such relief to his young friend, as the cold drink washes away the desert induced parchment, from the young man's dry throat.

And as has been so often stated, film lovers all over the world, were also relieved that Mr Harris and Mr Crisp, and other key people, put so much time and effort into making sure that "Lawrence of Arabia" will always be available to gift film lovers with a beautiful viewing experience that also appeals to the mind, as it rewards the eyes. And it's quite fitting that LOA having been so carefully preserved for posterity, also means that future actors, and students of film acting, will always be able to reference the amazing performance by Mr O'Toole, in which the actor was perfectly able to match the top grade efforts of David Lean and Freddie Young, as well as screenwriters Robert Bolt and Michael Wilson. Peter O'Toole's acting efforts also matched, and even surpassed, the acting of the far more experienced actors in the film, such as Alec Guinness, Claude Rains, Jack Hawkins, Anthony Quinn, and Arthur Kennedy. Arguably, no actor ever launched his film career in a more spectacular fashion than Peter O'Toole did, in playing T.E. Lawrence.

 

[Robert Harris]

My best friend, is a relative youngster of 43, compared to yours truly, and though he's a big fan of movies, the man has never seen "Lawrence of Arabia". But when news first broke about the passing of Peter O'Toole, several years ago, my friend called to let me know.

Anyway, when my friend and his family return from their vacation, in 10 days, or so, I'm going to tell my buddy that an evening , or a Saturday afternoon, has been much too long overdue for being dedicated to a viewing of LOA. If I'm not mistaken the closest that my friend has gotten to viewing Lawrence was seeing that little snippet from the film that was incorporated into "Prometheus"

I was most fortunate to have received, as a gift, the deluxe Blu-ray edition of "Lawrence of Arabia", at Christmas, in 2012. My daughter-in-law having given the stunning BD of Lawrence to me, that Christmas, certainly served to boost her stock with me, by a good bit.. But strangely, although she was a straight-A student in high school, even having skipped a grade, this 34 year old young lady does not like to watch films that were released before about 1985. And though it certainly wouldn't be relevant with any effort to get her to appreciate LOA, Jennifer also possesses that fairly popular prejudice among some younger folks, of believing that viewing a black and white film, must be a dull experience.

Regarding B&W films, I really found myself agreeing with the late Roger Ebert's view that B&W movies can possess their own special point of interest, in that good black and white photography, while obviously presenting a somewhat less realistic recreation of the world than color photography is capable of, can tend to compensate for that lack of color, by presenting us with images that can seem more dream-like than the more accurate rendition of the world that color makes possible..

Anyway, as I attempt to cut this long-winded exposition short, I want to quickly say that I'm almost ashamed to note that since receiving the Lawrence Blu-ray, more than 4 and a half years ago, neither my wife, nor myself, have sat down to watch the film from beginning to end. Though I have put the disc in one of our Blu-ray players, on 3 or 4 occasions, to really startle some guests, by letting them see for themselves, how genuinely stunning a film more than half a century old, can still be in comparison with about any 2016 or 2017 movie release, that shows up on Blu-ray.

So very soon, an evening or afternoon will be set aside here, for the special event of watching "Lawrence of Arabia". And instead of having the usual Cokes with our popcorn, I think it might seem right to have some good lemonade as a small symbolic way to honor the memory of the great Peter O'Toole, whose character in the film gets such a kick out of seeing the lemonade he ordered, offering such relief to his young friend, as the cold drink washes away the desert induced parchment, from the young man's dry throat.

And as has been so often stated, film lovers all over the world, were also relieved that Mr Harris and Mr Crisp, and other key people, put so much time and effort into making sure that "Lawrence of Arabia" will always be available to gift film lovers with a beautiful viewing experience that also appeals to the mind, as it rewards the eyes. And it's quite fitting that LOA having been so carefully preserved for posterity, also means that future actors, and students of film acting, will always be able to reference the amazing performance by Mr O'Toole, in which the actor was perfectly able to match the top grade efforts of David Lean and Freddie Young, as well as screenwriters Robert Bolt and Michael Wilson. Peter O'Toole's acting efforts also matched, and even surpassed, the acting of the far more experienced actors in the film, such as Alec Guinness, Claude Rains, Jack Hawkins, Anthony Quinn, and Arthur Kennedy. Arguably, no actor ever launched his film career in a more spectacular fashion than Peter O'Toole did, in playing T.E. Lawrence.

Any chance taking your friend to a 70 or 4k screening?

 

[Ashly Yeo]

Cinerama in Seattle has LoA on this year's 70mm Festival schedule - https://www.cinerama.com/Festival.aspx?ec=0000000012

Other interesting entries this year are Aliens, Tron, Patton and Sleeping Beauty.

 

[Mike Boone]

Any chance taking your friend to a 70 or 4k screening?

Gee, RAH, you've motivated me to search, and see, if such a a 70 mm or 4k presentation might be in the cards, for our area of Ohio.

But I want you to know that in 1989 after having read the Time magazine cover story on your first restoration of "Lawrence", I took a chance on a mostly shot, old Plymouth Horizon, being able to carry my daughter and myself about 35 miles north to Cleveland, to what I believe was the Colony theater, for us to see "Lawrence of Arabia. It was about 2 months before my daughter, Sarah, would turn 14, in late July.

I don't know Cleveland well, and the only other film that I ever saw in that city was "The Exorcist" on my first wife's birthday, January 17th, in 1974, which was also our first date. And when I took my wife home, to where I grew up, on Long Island, I joked with friends that the Devil had brought my wife and me together. But a few years later, I no longer thought that line was particularly funny.

Anyway I'm afraid, as is often the case, I have digressed. But I'll never forget taking Sarah to see "Lawrence" in the late spring of 1989. My daughter always used to say that she got her love of films from me. And I so much wish that I had an audio recording of us talking in the car on our way home from seeing "Lawrence". My daughter was a very bright young lady who graduated from the honors college at Kent State with highest honors in 1997, and was invited to join Phi Beta Kappa. But in the end her intellect was not a strong enough ally to save her from a combination of severe depression and the drugs she got into with her boyfriend in Tucson Arizona. Sarah was found in a Tucson motel room, on February 12th 2006, where she had gone to end her life alone. Her brief note to me said that she had not wanted to put us through any more anguish, and that suicide attempt was her last of 5 such actions.. She was just over 30 years and 6 months old. Because of the creation of President's Day, young people today generally forget that February 12th is the date of Lincoln's birthday, but even if memory is to fade from me someday, surely that is one of the last thoughts that will leave me.

And certainly, for the rest of my life, I hope to never forget the hundreds of movie experiences that dear Sarah and I shared together. One of the first movies that my daughter and I ever went to together was a showing of the original "Fantasia" when Sarah was only 2 and a half. I was so proud that at that young age she sat through the whole film, giving it her full attention, while not saying a thing. And then when the film ended, and we got up from our seats to leave, Sarah said to me "Daddy that was really strange." Now, whenever I'm involved in viewing a good film I try to think that Sarah may be with me in spirit.. And my daughter would have sure loved Blu-ray, and if she was still with us, I know that her visiting our home would have resulted in some real marathon film watching sessions.

 

[Brent Reid]

A poignantly beautiful recollection, Mike. Thank you for sharing.

 

[Charles Smith]

Colony Theater in Shaker Square? Beautiful place back in the day, and still operating, though now as divided "cinemas". I remember some wonderful large format and other films there. My first Lawrence (ca-1971 version) was farther out in the 'burbs, but still memorable. Good to hear the Colony hosted the 1989!

 

[Mike Boone]

A poignantly beautiful recollection, Mike. Thank you for sharing.

I appreciate that very much, Brent.

And as we all realize, discussing times that we can only wish were possible to recapture, still serves to keep the memories of them alive in our minds.

 

[Neil S. Bulk]

Maybe this will play the Dome in LA, although I've never been thrilled with the projection there. Of course, I'd be thrilled if the DGA showed it - the sound and projection there is stupendous and the screen VERY large. I would NEVER see this on an IMAX screen - wrong shape and who needs it. Does the Village in Westwood still have a nice-sized screen? Haven't been in years, but in my childhood seeing Cinemascope there was amazing.

Yes it does. I saw Dunkirk there in 70mm.

Neil

 

[Mike Boone]

Colony Theater in Shaker Square? Beautiful place back in the day, and still operating, though now as divided "cinemas". I remember some wonderful large format and other films there. My first Lawrence (ca-1971 version) was farther out in the 'burbs, but still memorable. Good to hear the Colony hosted the 1989!

Charles, I was just on the cinema Treasures site reading about the Shaker Square Cinemas, and how they came into being from the old Colony theater being renovated, and sadly, being broken up into a number of much smaller auditoriums, with much smaller screens.

The info about the Shaker Square Cinemas includes the fact that the Colony originally opened on December 28th 1937, with 1,523 seats. The Colony was designed in an Art Modern style by noted theater architect John Eberson.

But man, did I hit the jackpot in reading through the 33 comments by people talking about their memories of the Colony Theater!

A guy calling himself radarKW wrote this comment on July 7th 2012: "Joe, I don’t think that the Colony was split into 5 theaters until 1992. I have a memory of seeing the restored 1989 version in the full Colony auditorium in 70mm complete with the full score. (overture, intermission, and exit music) Needless to say…it was a spectacular cinema experience."

Now that comment was frustrating at first because radarKW neglected to say which restored feature he saw at the Colony in 1989, though I figured that it had to be "Lawrence".

Well, then I noticed a very brief comment that I'd scanned past because the comments were all listed in reverse chronological order, with later comments higher on the page than older comments. And radarKW briefly corrected himself by simply having typed "Oops.. of Lawrence of Arabia that is…"

And for me, since I was already fairly sure that our Spring 1989 viewing of "Lawrence of Arabia" was at the Colony, I now feel even luckier to have read another comment done by a dave-bronx on June 17th 2005.
His comment was: "The Colony and the Vogue were both Stanley-Warner houses. I saw the original “Exorcist” here back in the early seventies. For that film, all the ushers were equipped with smelling salts, and in case someone tossed their cookies, there was a mop and wringer-bucket near the back of the auditorium. Today, “The Exorcist” seems fairly tame, but back then it was considered over the top."

Because of that comment, I'm now sure the Colony is also the theater where I saw "The Exorcist" on the first date, with my first wife, on her birthday, January 17th 1974. My roommate, while still at Kent State, was from Cleveland, and he knew Shaker Square quite well, so he drove the 3 of us up to the Colony Theater to see "The Exorcist" because, INCREDIBLY, the film was not playing in any of Kent's theaters, or even in any of Akron's many theaters, though Akron was a good sized town of more than three hundred thousand people, back then.

What younger people may not realize today, was that back at the time of "The Exorcist", major movie releases (with a few notable exceptions, like the James Bond films) usually did not "OPEN WIDE", as almost every film from the major studios does today. When I still lived on Long Island in the late 1960s, and very early 70s, we sometimes had to literally wait while a film played for months in New York City, before it made it's way out to one, or more, of the nice movie theaters where we lived, about 35 to 40 miles east of the "Big Apple". For example, the Columbia Pictures release, "Easy Rider" began playing in Manhattan in July of 1969, but did not open in any of our theaters in Nassau County, Long Island, until the day after Thanksgiving 1969. I remember that because friends came home from college for Thanksgiving, and we all took the opportunity to finally be able to see "Easy Rider" on Long Island.

But getting back to "The Exorcist", it opened in larger cities, like New York, and probably Cleveland too, on the day after Christmas, December 26th 1973. And the film was an immediate box office sensation, and of course, was also based on a novel that had been a huge best seller. But there we were, living between Kent and Akron, reading news stories in the Akron Beacon Journal newspaper, about "The Exorcist" being so scary that grown men were supposedly fainting while viewing it, yet even 22 days after this box office blockbuster had started making headlines around the country, people in a good sized town like Akron, Ohio couldn't detect a trace of it, unless, like us, they drove all the way up to Cleveland to see the flick. That was so different from today, when a major movie release seems to be playing from day one, on even a couple screens of a large multiplex, at almost every other shopping mall that's located near you.

But BTW, the initially limited distribution pattern for "The Exorcist" sure didn't hurt its box office results. Because according to Box Office Mojo, when adjusting for the large amount of ticket price inflation that's taken place over the years, so that an apples to apples comparison is being made, "The Exorcist" is actually the 9th biggest hit that America's movie box offices have ever experienced. And Americans certainly bought more tickets to see "The Exorcist", than they have for any other R-rated movie that has played in America's movie theaters.

 

[Robert Harris]

Charles, I was just on the cinema Treasures site reading about the Shaker Square Cinemas, and how they came into being from the old Colony theater being renovated, and sadly, being broken up into a number of much smaller auditoriums, with much smaller screens.

The info about the Shaker Square Cinemas includes the fact that the Colony originally opened on December 28th 1937, with 1,523 seats. The Colony was designed in an Art Modern style by noted theater architect John Eberson.

But man, did I hit the jackpot in reading through the 33 comments by people talking about their memories of the Colony Theater!

A guy calling himself radarKW wrote this comment on July 7th 2012: "Joe, I don’t think that the Colony was split into 5 theaters until 1992. I have a memory of seeing the restored 1989 version in the full Colony auditorium in 70mm complete with the full score. (overture, intermission, and exit music) Needless to say…it was a spectacular cinema experience."

Now that comment was frustrating at first because radarKW neglected to say which restored feature he saw at the Colony in 1989, though I figured that it had to be "Lawrence".

Well, then I noticed a very brief comment that I'd scanned past because the comments were all listed in reverse chronological order, with later comments higher on the page than older comments. And radarKW briefly corrected himself by simply having typed "Oops.. of Lawrence of Arabia that is…"

And for me, since I was already fairly sure that our Spring 1989 viewing of "Lawrence of Arabia" was at the Colony, I now feel even luckier to have read another comment done by a dave-bronx on June 17th 2005.
His comment was: "The Colony and the Vogue were both Stanley-Warner houses. I saw the original “Exorcist” here back in the early seventies. For that film, all the ushers were equipped with smelling salts, and in case someone tossed their cookies, there was a mop and wringer-bucket near the back of the auditorium. Today, “The Exorcist” seems fairly tame, but back then it was considered over the top."

Because of that comment, I'm now sure the Colony is also the theater where I saw "The Exorcist" on the first date, with my first wife, on her birthday, January 17th 1974. My roommate, while still at Kent State, was from Cleveland, and he knew Shaker Square quite well, so he drove the 3 of us up to the Colony Theater to see "The Exorcist" because, INCREDIBLY, the film was not playing in any of Kent's theaters, or even in any of Akron's many theaters, though Akron was a good sized town of more than three hundred thousand people, back then.

What younger people may not realize today, was that back at the time of "The Exorcist", major movie releases (with a few notable exceptions, like the James Bond films) usually did not "OPEN WIDE", as almost every film from the major studios does today. When I still lived on Long Island in the late 1960s, and very early 70s, we sometimes had to literally wait while a film played for months in New York City, before it made it's way out to one, or more, of the nice movie theaters where we lived, about 35 to 40 miles east of the "Big Apple". For example, the Columbia Pictures release, "Easy Rider" began playing in Manhattan in July of 1969, but did not open in any of our theaters in Nassau County, Long Island, until the day after Thanksgiving 1969. I remember that because friends came home from college for Thanksgiving, and we all took the opportunity to finally be able to see "Easy Rider" on Long Island.

But getting back to "The Exorcist", it opened in larger cities, like New York, and probably Cleveland too, on the day after Christmas, December 26th 1973. And the film was an immediate box office sensation, and of course, was also based on a novel that had been a huge best seller. But there we were, living between Kent and Akron, reading news stories in the Akron Beacon Journal newspaper, about "The Exorcist" being so scary that grown men were supposedly fainting while viewing it, yet even 22 days after this box office blockbuster had started making headlines around the country, people in a good sized town like Akron, Ohio couldn't detect a trace of it, unless, like us, they drove all the way up to Cleveland to see the flick. That was so different from today, when a major movie release seems to be playing from day one, on even a couple screens of a large multiplex, at almost every other shopping mall that's located near you.

But BTW, the initially limited distribution pattern for "The Exorcist" sure didn't hurt its box office results. Because according to Box Office Mojo, when adjusting for the large amount of ticket price inflation that's taken place over the years, so that an apples to apples comparison is being made, "The Exorcist" is actually the 9th biggest hit that America's movie box offices have ever experienced. And Americans certainly bought more tickets to see "The Exorcist", than they have for any other R-rated movie that has played in America's movie theaters.

If I'm recalling correctly, the average print run c. 1965, was around 300 prints, which would open in cycles, beginning in large metro areas. By 2000, a major release could be 5,000 prints, produced high-speed in multiple labs, in order to meet opening day.

A 70mm release would usually begin with around 20-25 prints for domestic.

 

[Garysb]

For those in Los Angeles:

A Brand New Exclusive 70mm Print of Sony Pictures 1962 Best Picture Oscar Winner 'Lawrence of Arabia'

6 Nights Only!

AT THE EGYPTIAN THEATRE



LAWRENCE OF ARABIA in 70mm

December 15 - 20, 2017
EGYPTIAN THEATRE
6712 Hollywood Blvd., LA 90028

9 Oscar® Nominations & 7 Wins!!

The American Cinematheque, struck a new 70mm print of LAWRENCE OF ARABIA (1962) and will have the exclusive rights in the Los Angeles region to exhibit the Best Picture Academy Award Winner at the Aero and Egyptian Theatres in 70mm. LAWRENCE OF ARABIA is one of the all-time favorites of American Cinematheque audiences and has been shown several times a year since we re-opened the Egyptian Theatre on December 4, 1998. The American Cinematheque will schedule two extended runs per year, one at the Aero Theatre and one at the Egyptian Theatre. The first of these runs will take place December 15-30, 2017 at the Egyptian Theatre.





"When we completed the digital restoration of Lawrence of Arabia in 2012, we also wanted to preserve on film all the hard work that went into the image restoration. So, we produced a new 65mm negative primarily for preservation purposes. In the intervening time, renewed interest in 70mm print exhibition has generated many requests for new 70mm prints of Lawrence and we decided that this would be a good time to honor those requests. The new 70mm prints are really meant for those audiences who truly appreciate the art and technology of film production and exhibition, explains Grover Crisp, Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Studios.



LAWRENCE OF ARABIA received 9 Oscar® nominations and was the winner of 7 Academy Awards®, including Best Picture (Sam Spiegel, producer), Best Director (David Lean), Best Cinematography (Fred A. Young), Best Editing (Anne Coates), Best Score (Maurice Jarre), Best Art Direction (John Box, John Stahl & Set Decoration, Dario Simoni) and Best Sound (Shepperton Studio Sound Department, John Cox, Sound Director).



The debut screening of the new print will be Friday, December 15, 2017 at the Egyptian Theatre in Hollywood. The program will feature an introduction by Grover Crisp, Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Studios.



LAWRENCE OF ARABIA stars Peter O'Toole as a character based on the real-life British Lieutenant T.E. Lawrence, an iconoclast with intimate knowledge of the native Bedouin tribes. During WWI he accepted a mission to locate Prince Faisal (Alec Guinness) and serve as a liaison between the Arabs and the British in their fight against the Turks. With the aid of native Sherif Ali (Omar Sharif), Lawrence rebels against the orders of his superior officer and strikes out on a daring journey on camelback, across the harsh desert, to attack a well-guarded Turkish port. The film was directed by David Lean from a screenplay by Robert Bolt and Michael Wilson.



More opportunities to see the new 70mm print of LAWRENCE OF ARABIA (1962, Sony Repertory, 216 min.) starring Alec Guinness Anthony Quinn Jack Hawkins Jose Ferrer Anthony Quayle Claude Rains Arthur Kennedy with Omar Sharif as "Ali" and introducing Peter O'Toole as "Lawrence" are as follows:



Schedule
Friday, December 15, 2017 - 7:30 PM introduction by Grover Crisp.
Saturday, December 16 - 7:30 PM
*Sunday, December 17 - 7:30 PM
Thursday, December 28 - 7:30 PM
Friday, December 29 - 7:30 PM
*Saturday, December 30 - 7:30 PM



* Introduction by film historian Jeremy Arnold and author of Lawrence of Arabia: The 50th Anniversary.



Ticket Prices: $15 General, $13 Cinematheque Members. No vouchers.

 

[telzall]

"In the intervening time, renewed interest in 70mm print exhibition has generated many requests for new 70mm prints of Lawrence and we decided that this would be a good time to honor those requests. The new 70mm prints are really meant for those audiences who truly appreciate the art and technology of film production and exhibition, explains Grover Crisp, Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Studios."
I hope we on the east coast are given the opportunity to appreciate the 70mm print. I'm not as discerning as most on this site; but, I still would like the opportunity to see it this way.

 

[battlebeast]

I would KILL to see it this way. Having only seen it once, my 60" just won't cut it!

I'm so jealous of anyone who have the chance to view it on the 15th. I'd love to hear Mr. Crisp talk.

 

[Robin9]

For me, $15.00 to watch a brand new 70mm print of Lawrence Of Arabia is a bargain.

 

[OliverK]

Quick question: Is the new LOA print a filmout from 4k?

 

[DP 70]

Hi Oliver,
The new 70mm Datasat print is a filmout from 4k you are correct.
I have seen it and to me the colour looks pushed and I saw some jagged edges and I was not impressed.
The Datasat sound is good but I think you might as well screen from a 4K DCP.
The 1989 restoration looked fantastic as we all know.
Murder on the Orient Express was a filmout from 4K to 70mm and that looked even worse which was also shot in 65mm also the 70mm prints of Dunkirk looked fab next to these prints.

 

[OliverK]

Hi Oliver,
The new 70mm Datasat print is a filmout from 4k you are correct.
I have seen it and to me the colour looks pushed and I saw some jagged edges and I was not impressed.
The Datasat sound is good but I think you might as well screen from a 4K DCP.
The 1989 restoration looked fantastic as we all know.
Murder on the Orient Express was a filmout from 4K to 70mm and that looked even worse which was also shot in 65mm also the 70mm prints of Dunkirk looked fab next to these prints.

I heard of the new print that was shown in Europe but this is a print made especially for the American Cinematheque and that could be a print struck from a preservation negative the way this is worded, hard to say with any certainty:

"When we completed the digital restoration of Lawrence of Arabia in 2012, we also wanted to preserve on film all the hard work that went into the image restoration. So, we produced a new 65mm negative primarily for preservation purposes. In the intervening time, renewed interest in 70mm print exhibition has generated many requests for new 70mm prints of Lawrence and we decided that this would be a good time to honor those requests. The new 70mm prints are really meant for those audiences who truly appreciate the art and technology of film production and exhibition, explains Grover Crisp, Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Studios.

Other than that we both agree that a digital filmout to 70mm is not the best use of 70mm stock, I also was not impressed by the two filmouts I have seen so far (Batman vs Superman and Kong Skull Island).

I am not sure though that new prints of Mutiny on the Bounty or others that have never seen a new print after their initial release would be a good idea these days. To look really good these would have to be prints from the negative and they are getting very old and the possibility of damaging them is not to be underestimated.

 

[Michel_Hafner]

LOA should be seen from 4K on a Sony Cledis System. Or the Samsung
cinema wall system.
In time the 8K scans should be reused for a full 8K restoration and master.
4K is a compromise for 70mm sources.

 

[Robert Harris]

I heard of the new print that was shown in Europe but this is a print made especially for the American Cinematheque and that could be a print struck from a preservation negative the way this is worded, hard to say with any certainty:

"When we completed the digital restoration of Lawrence of Arabia in 2012, we also wanted to preserve on film all the hard work that went into the image restoration. So, we produced a new 65mm negative primarily for preservation purposes. In the intervening time, renewed interest in 70mm print exhibition has generated many requests for new 70mm prints of Lawrence and we decided that this would be a good time to honor those requests. The new 70mm prints are really meant for those audiences who truly appreciate the art and technology of film production and exhibition, explains Grover Crisp, Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Studios.

Other than that we both agree that a digital filmout to 70mm is not the best use of 70mm stock, I also was not impressed by the two filmouts I have seen so far (Batman vs Superman and Kong Skull Island).

I am not sure though that new prints of Mutiny on the Bounty or others that have never seen a new print after their initial release would be a good idea these days. To look really good these would have to be prints from the negative and they are getting very old and the possibility of damaging them is not to be underestimated.

There is no problem running original 65mm negs today, unless they have been overprinted and damaged.

Prints should not be produced, however, after a color trial. An IP, dupe set should always be used to strike new 70mm prints, which would be magnificent via new stocks

Only problem with new fine grained stocks is seeing things one was never meant to see.

These problems, when they exist, are far worse in the digital realm, and must be addressed